Whelan 'The Story of Ike Dupree' - Presidio

Following on from Flood Waters Rising (2013), this release is a 13 track blues inspired journey that include the adventures of Ike Dupree, who crops up in a number of songs. His character was inspired by the abuse of police powers in New Orleans after hurricane Katrina. The songs include a horn section that is arranged by both Fred Wesley (8 tracks) and Ron Horton (3 tracks).

The backline is excellent on all songs and the edge provided by the backing singers and tight arrangements lead to a very energising listen. Organ and piano mix with the percussion and wind instruments to produce a heady thrill on songs like Ice Water and Lighten Up. Too Cold Ohio Blues has a traditional stripped back sound and the Rainmaker has a light jazz swing to the arrangement with the horn section stealing the show.

Sid Whelan has an impressive guitar prowess, holding his own against a coterie of accomplished players.

Sam Outlaw 'Angeleno' - Six Shooter/Thirty Tigers

A lot has been made of Sam Outlaw’s stage name. Maybe it’s to do with expectations of the music that would emanate from such a moniker. Outlaw is not an outlaw in the mode of artists usually associated with that term; rather Sam Outlaw plays music that is influenced by traditional country music since the 50s. He takes elements of music he likes and creates something that is very contemporary and totally distinctive. Country music is about the voice and the song. Both are here and both are good. Prior to this collection he has released a debut album Nobody Loves Sam Outlaw and an eponymous five track EP. These recordings show that Outlaw’s voice and sound were established from the start. Country love songs are the overriding theme of his writing and indeed that is the title of a song that features on both albums.

The album was produced by Ry Cooder and his son Joachim something the two rarely do, so they obviously recognised something special in Outlaw’s music. Mentioned should be made of Ry’s refined and relevant guitar playing and Joachim’s steady and effectively paced drumming throughout. Both add much to the overall feel of the album and are alone a lesson in music made with understanding and feeling. The production is clear, warm and balanced giving the songs the right sense of mood appropriate to each. Outlaw also brings in harmony singer Molly Jenson along with steel player Jeremy Long, both long time members of Outlaw’s live and recording band, to give some continuity to his previous recordings - both of which are worth hearing.

Outlaw’s songs are the key to the success of this album from the opening Who Do You Think You Are? to the title song and such highlights as I’m Not Jealous, Love Her For  a While and It Might Kill Me all of which have an acute sense of melody and are memorable. Indeed, I have found myself returning to listen to Outlaw’s music more often than I have to other better know names. This album is not exception and is one that rewards listening. Angeleno has a broad base that sees strings, Spanish guitar and mariachi blended in a effective and enlightening way. The atmospheric guitar and banjo on Country Love Song enhance its sense of longing. In fact as I listen, each song is equally pleasing and makes for an album of timeless songs. 

As mentioned, it is the classic combination of song and voice that the makes this music work. It is not music that is likely to be embraced by mainstream country radio. It should be noted that Sam Outlaw is not doing anything that has not been done before, but he brings these elements together in a way that is interesting and deserves recognition. Equally this album is part of the resurgence of some real country music in California. If you don’t expect long beards, tattoos and a modicum of bad language, then this Outlaw’s music is something that will hold you captive and it is one of the year’s best releases.

Daniel Romano 'If I’ve Only One Time Askin’' - New West

The Canadian singer/songwriter and producer returns with his best album to date. Romano uses country music as a basis for his songs, but draws from many sources to make his music contemporary and compelling. Once again this is far removed from the output of Nashville’s Music Row and so much more interesting because of it. Romano is a stylist and presents his music as a concept the he has conceived from writing, producing and performing through to photography and packaging. He is also a distinctive singer who breathes life into these songs of love.

This is love looked at in all it’s aspects from the disenchantment of Old Fires Die to the hope of The One That Got Away (Came Back Today). Strange Faces and All The Way Under the Hill are endowed with weeping pedal steel and twangy guitar.  There is a striking vocal intro to There’s a Hardship that is otherworldly, with Romano emoting the word “Mosey” before the song turns into a country lament with piano and accordion. Mosey is a key word here in that it defines his music and attitude. “A study in contrasts” he has called it. It is something that appears on the back of his leather jacket and in other aspects of his presentation and is used to sum up his eclectic approach to his personal take on country and sundry other musical traditions. Taking them and turning them, as he does here, into something very much his own.

His skill as a writer is matched by his skill as a producer in bringing these songs to life and in telling the stories that are relevant to an audience who can listen to such crafted music with an open mind. The old-school storytelling of Two Word Joe is done without artifice, telling the story of a two-time loser who can only sum up his feeling in two words. It’s country bed is enhanced by some judicious wah-wah guitar playing. This runs, as do all the songs, straight for one song into the next track and often linked by a short musical interlude that can sound like slipping across the radio dial from a country station to one playing something completely different. The way this is done, however, is pretty seamless and not the least bit incongruous. The final song is introduced by an old timer singing with an acoustic guitar in a what sound like a piece of found music before fading into a gentle and reflective song Let Me Sleep (At The End of a Dream) which is sung with an assured vocal and some smokey pedal steel guitar.

This promo CD comes without any credits, so I’m assuming that all the songs (bar his cover of a lesser know George Jones recording Learning To Do Without Me, written by Dennis Knutson, Buck Moore and Doodle Owens) are originals. Equally the playing throughout is spot on and, without access to credits, I’m also assuming that the music is provided largely by Romano himself with contributions from members of his band The Trilliums. Caitlin Rose is a welcome guest and sings on Strange Faces. In photographs Romano has appeared in a rhinestone suit and in a classic pinstripe suit as well as a cowboy hat and leather jacket. Visually as well as musically he draws on the past and adapts a multitude of sources to create his own music. The end result is pure Romano and the album is another contender for best of the year.

Phil Lee 'Some Gotta Lose…' - Palookaville

This is the latest from the mighty king of love as Lee likes to be known and it is a winner. He recorded this album in New York with Willy Mason in the production chair. They used a select set of players to deliver a relaxed set that is at times soulful and jazzy, but soulful and jazzy in a very Phil Lee style. Lee posses an expressive and distinctive voice, that in a sea of soundalikes is something to savour.

The songs are full of his usual observations of ageing, wondering, loving and listening. They are all written by Lee, except his arrangement of the traditional Lil’ Liza Jane and Kiss of Fire, I Pray it Never Comes and What Can I Do For You?  (the latter a short unaccompanied song sung by Jan King that closes the album). There is one co-write with the late Duane Jarvis in Ain’t no Love. 

The band settles into a groove that sits under Lee’s lead vocals with some effective vocal choruses. Listen to Don’t Tell Me Now which has a live-in-the-studio feel as he leads them to the song’s end. Perhaps the strangest title here is If Frogs had Wings; a song that makes perfect sense in the nature of ‘if I had you I could change’, something in the nature of “if pigs could fly”. All well except for the line “they’re hanging me a dawn” which introduces an unheard backstory. Overall this is an album where Lee takes some time to look back, to revisit old haunts and homes. In doing so he felt a good deal of sadness and the realisation that what is gone is never going to return.

As with all his music there is a sense of self-deprecation. This is often expressed with humour but not without the sense of love that remains for the people and places that one has known. This is an album that deals with growing up and with acceptance. This also relates to the performances which are full of a human spirit that embraces the mistakes as a part of the whole. The music is warm and affirming and full of little touches in the playing that capture the moment and the sense of players who are skilled and all in tune with achieving an overall vibe that is effusive.

Phil Lee is a troubadour who has weathered his woes and loves and woven them into songs and performances that are best summed up as mighty songs of love and loss. Lee will always fly below the radar and that is something he is well used to. But he can console himself with the fact that his music is as vital to those who appreciate it as it was on first encounter. This could be the best one yet and again is another contender for album of the year. Some gotta lose, but this is a knockout.

Stephanie Urbina Jones 'The Texicana Sessions' - Casa Del Rio

This CD just came in for review though it was recorded back in 2010. Jones’ energetic and spirited take on Tex-Mex music is an invigorating mix of mariachi horns, uptempo upfront beats, rockin’ roots guitars, swinging keyboards with some occasional fiddle and steel additions to drive it all along. The songs are sung in Spanish and English and highlight Jones’ power as a vocalist.  Her songwriting skills shine in all twelve tracks here. However there are no credits for production or players on the sleeve (or on the net for that matter). Como Se Llama, Mama features a male voice whom she addresses as ‘Augie’, so we assume that that is the voice of her friend Augie Meyers, Texas Tornado.

Jones mixes the tempos and moods throughout, from the raucous opener Revolucion en mi Carazon to the understated ballads Canta Me and The Midnight Side Of Me. Some of the songs are sung in both languages, but whichever one Jones sings in, it is her delivery that makes them work so well. The closing song Gracias is a vibrant country song with twangy guitar, an instant beat and a fiddle that again highlight Jones’ versatility as a singer and writer.

For those who like Patricia Vonne or The Mavericks - Jones has just played a festival with the latter in Switzerland - or music with a pronounced Mexican/ border feel here is someone you will likely to enjoy as I did.

Chris Cuddy 'Dear Elvis' - Self Release

The title and cover image should give you a clue of where the inspiration for this album comes from. If not then the song Rock ’n’ Roll History will. Cuddy’s mission is rooted in the spirit of the music that emerged in the 50s and continues to this day. It would appear to have been recorded, from the production notes, over a number of years as, in the case of Rock ’n’ Roll History the accompanying band listed is the Tom Russell Band who, in this particular line-up, have not been together in many years. The track also has pianist Gene Taylor and guitarist Albert Lee as guests on the recording. There are eight different recording studio and sets of players listed and a number of different producers, with Cuddy serving as executive producer. However, the album hangs together with a common aim and theme. 

All 15 songs are credited to Cuddy, who takes lead vocals throughout and his voice is well suited to the songs. This is a rockin’ affair, with all the musicians getting into the groove of classic rock ’n’ roll, rockabilly, pop and touches of blues. The backing vocals are also used to bolster that feeling, though the album doesn’t actually sound like it was recorded back then as the production process is more contemporary in attitude. It is the arrangements that give Dear Elvis the flavour of earlier times.

Gene Taylor also adds his piano skills to Tom Cat, a soulful late night song about a night time tomcatting man. Just Say No has Cuddy on harmonica on a driving song with a solid guitar riff from George Bradfute. I’m A Cadillac has a nice slow build with bass and slide guitar providing most of the backing. The pure 50’s pop of Starlene with it’s twangy guitar take you right back to another era soundwise, while the closing title track is a voice and acoustic guitar slow ballad that pleads to Elvis for sympathy, trusting that the King’s understanding of all matters of the heart and that his music made him someone who understood such dilemmas.

There is no doubt Cuddy loves the music from that era and his songs evoke it well without being simple recreations; rather they are inspired by the foundations of a genre that has moved on but here he wants to remind us the power and innocence of those times. If you accept that premise, this music will please - or if nothing else send you back to those early sounds. Cuddy has done his job well here,  reminding us of the foundations of rock with a set of songs that are evocative and entertaining in there own right. 

Lee Palmer 'Like Elway' - On the Fly

The blues get a fine workout on this nine track release from Toronto based musician Lee Palmer. His previous releases were One Take (2013) and 60 Clicks (2014), but with this effort he has moved into a different gear and really raised his performance.

Like Elway is co-produced with fellow band member Elmer Ferrer and the production is really bright and clean with the ensemble of musicians given plenty of freedom to express themselves. Fine guitar work from Ferrer throughout is complemented by the piano, organ and accordion of Lance Anderson, while Lee delivers some fine vocal performances to keep everything bubbling.

The title track features the fine vocals of Mary McKay to great effect, while the rhythm section of Al Cross on drums and David Woodhead (bass) lay down a compelling groove for the other players. Lonely at the Top features harmonica from Roly Platt and the slow tempo of Maybe that’s Why and Life’s a Mess contrast perfectly with the excellent up-tempo Rockin’ This Chair and Axe to Grind. This is an impressive release.

Peter Blachley 'Nevada Sky' - Self Release

This is a debut release from a New York based singer/songwriter who proves that age is no barrier to following your dreams. Peter Blachley is in his 50s and has led a colourful and varied life before entering the studio to record these ten songs. They are reflections of a life well lived and the lessons learned along the way, and they visit the enduring power of love, past relationships, old friends, mortality and redemption.

Produced by Felix McTeigue and featuring a group of experienced musicians, the overall feel is of gentle arrangements and understated playing. Salvation Songs remembers Blachley’s Vietnam experiences, but is equally relevant to any war. Love Is Eternal deals with bereavement and the way each of us processes the passing of a loved one. The title track closes proceedings in fine style with a big sky production in praise of the Great Plains and a vocal that brings the late John Stewart to mind. This is a fine effort overall.    

Mad Dog McCrea 'Almost Home' - God Dam

This is the third release from the Plymouth-based UK Folk outfit. Firmly rooted in the old traditions of high energy, dexterous playing and recounting stories of brigands, pirates and thieves, Mad Dog McCrea boasts six musicians that would give any band in this genre a run for its’ money. Mad Dog McCrea stokes up a terrific sound that is perfectly suited to live performance.

The production by Sean Lakeman is vibrant and immediate, blending bouzouki, banjo, fiddle, flute and whistles into a crescendo of celebratory sounds. The eleven tracks here run along at quite a pace, and it is impossible to sit still when Almost Home, You Can’t Find Me, Heart of Stone, Mad Dog Coll and Talking through the Walls are thumping out of the speakers.

They can also do reflective and sensitive as with The Sound and Whiskey Man, two tracks that show a gentler side of this ensemble, but are no less impressive.

Tod Hughes Project 'Changing Gears' - Self Release

Hughes is a singer/songwriter from Calgary, Alberta and this EP of six songs is a debut release. Clocking in at just shy of 22 minutes it is pleasant listen with production from fellow musicians Spencer Cheyne & Craig Newnes. It comprises commercial radio tunes that are melodic and unobtrusive. The soul-based groove of The Quiet is driven by the Hammond B3 of Mike Little. The Only Person Who Won’t drink With Me is You has a nice county honky tonk swing, with Mitch Fay adding some nice guitar lines over tinkling piano. Changing Gears will serve as a taste of things to come.  

Jerry Lawson ‘Just A Mortal Man’ - Red Beet

This is the first solo album from the lead singer of acappella soul group The Persuasions. A band he fronted and arranged their material for some forty years. The album came about following a meeting between producer Eric Brace and Lawson - who also co-produced the album with Brace - when the latter had joined Brace’s band Last Train Home at a gig they were playing in his home town of Phoenix. Lawson was there because he’d read a piece written by Brace in the Washington Post that declared Lawson the best soul singer since Sam Cooke.

That may go some way to show the genesis of this thoughtful marriage of soul and Americana. Not something that hasn’t been done before but when done well is always a welcome addition to this particular sub-genre. The two, as producers, have chosen a selection of songs that work so well in this context. I’m Just A Mortal Man the title song that reveals human aspirations and failings. The opening song is Paul Simon’s Peace Like A River. - a flowing river of soul. Another interesting choice is Phil Lee and John Sieger’s I Hope That Love Always Knows Your Name. Brace contributes In The Dark and three other songs, while his Red Beet cohort Peter Cooper wrote the song Wine. The songs here largely look for the positive in the human condition and its need and search for salvation in its many forms.

In the studio in Nashville the gathered together a crew that could do these songs justice and being recorded in music city the emphasis falls more on the Americana side but never looses it sight of the soul roots its singer springs from. With a sublime voice like Lawson’s it couldn’t. The main players who include Brace, Joe Pisapia, Jen Gunerman and Duane Blevins all serve the songs well. There are a whole additional set of guest players who add brass and strings to the songs as required. Some additional vocal accompaniment comes from the McCrary Sisters and for two tracks by everyone’s favourite harmony singer Jim Lauderdale. 

Of special mention is the heartfelt pleading for love and not to leave in Down On My Knees. Its subtle vocal harmonies, brass and guitar lines adding much atmosphere of a song that could be a plea to a partner or to a higher power. It is an outstanding combination of music and voice. As indeed is the album overall. The feeling of grace and inspired interaction makes this a special album that should deservedly appeal across the board. But as with the last live track I’ll Come Running Back To You which is just vocals and acoustic guitar the power and soulfullness is equally evident in a more simple setting as befits the renowned acappella singer. 

A word too for Red Beet Records who always give the packaging care and thought and the accompanying press notes and physical CD leave most major labels and some indies to shame. These are people who care about all aspects of what the release.

Anna Laube ‘Self-titled’ - Ahh…Pockets

A much traveled singer/songwriter who has released this, her third album, which was also recorded in different locations around the U.S.A. The central character in this story is Laube herself who has written and produced the album (solely and with some co-producers) and picked up a number of different players on her way to realise these genre encompassing songs. country, jazz, blues, folk and pop are all descriptors mentioned in passing about her music. This mix of influences and inspirations is enlivened by a childlike open mind and a distinctive voice.

Both make this a readily accessible audio experience that warms and engages the listener. The songs are predominantly her own with a couple of exceptions Sugarcane is based on the traditional song Cocaine Blues, making the point that sugar is be umasked as an equally life-harming drug. Satisfied Mind a song written by Red hayes and Jack Rhodes which fits neatly alongside her original songs. It is recorded in a simple arrangement that is big on atmosphere and afterlife allusion.  Aside from those songs there are the bluesy  moods of You Ain’t Worth My Time Anymore to the more abandoned joy of The Bike Song with its rhyming “we’re all riding on our bike bikes” chorus, distorted vocal and New Orleans style brass interludes and harmonica. Just one song that sums up the different elements that are pulled together in a way that makes perfect sense when heard. Chocolate Chip Banana Cupcakes are something that Laube makes when what she really wants to be doing is getting close to a man she would like to get know more.   

The title of the song This One’s For You pretty much sums up Laube’s worldview. There is a an openness to head and heart and a wish to share that is apparent in her music that is immediately engaging. This is music made from a personal perspective, an innocence or wish to find it again. There is no doubting Anna Laube’s talent and technicolour vision. Something that should be viewed with an equal sense of opportunity if you would like a satisfied mind.   

Sergio Webb ‘Domingo’ - Self-Release

The latest release from the guitar grafter and sought after sideman  is a five track mini-album that explores  a somewhat more robust and bluesy side of his oeuvre. Perhaps best know as a member of The Famous Motel Cowboys and for accompanying David Onley  Webb also makes some fine musical endeavours in his own right. He is joined here by Ron Eoff on bass, Fran Breen on drums, Blake Padilla on keyboards and Julie Christensen on vocals he has recorded these co-written songs as well as one, Up In The Canyon, he had no hand in writing.

The set opens with Champagne and Ice Cream an uptempo keyboard filled contemplation on the high life, or a high life. If Only ponders that often thought question. This one is a softer song of lovelorn mediation. Up In The Canyon is a more acoustic take with lovely slide guitar that reflects life in a quitter place and more peaceful setting. Quarter In The Can considers a man down on his luck and sitting there looking for a quarter in his can to buy some Thunderbird wine to help deal with a pretty frugal lifestyle even if the man still does;t want to be like some of those who pass him by. Reflection Of The Blues is pretty much what it suggests - a strong bluesy workout  with guitar and keyboards over a straight up rhythm section with some tasty guitar licks than never overwhelm the songs but add to its feel. 

Sergio Webb it should be noted is coming into his own as a vocalist and his lead vocals here show a man who has developed his singing alongside his playing ability and while in his usual role he delivers some confident back-up vocals shows that with each release his skill in that department is developing nicely too. “All the best” he says on the back of the cover and that about sums it up.

Mark Billingham and My Darling Clementine ‘The Other Half’ - Hachette Audio

More of an audio short story than a musical CD. This is the physical version of what Mark Billingham and My Darling Clementine have been performing and touring in a live setting. It is inspired by Billingham’s (and his fictional detective Tom Thorne’s) love of traditional country songs and themes. A story of love, loss and murder it says on the cover and what could be more of a country song subject than that?

For the recorded version the additional voices of Graham Parker and David Morrissey (who plays Thorne in the T.V. series based on Billingham’s books) add character to the reading. It is the short story of Marcia, a former show girl in Las Vegas, now working in a run down bar. Marcia considers her life, her loves and the choices she has in later life. Add to the spoken voices are the songs and powerful voices of Lou Dalgleish and Michael Weston King. As My Darling Clementine they attracted the attention and friendship of Billingham and began to work together on this successful combination of words and music. 

There is an excerpt from the song By A Thread from My Darling Clementine's album How Do You Plead? Other than that the songs featured are newly recorded versions of perviously released or new songs (Friday Night At The Tulip Hotel, As Precious As The Flame) that fit the overall story arc. These version are essentially as they are done live, stripped back to voice and guitar but with some judicious bass, guitar and piano accompaniment added for the recording. The Brodsky Quartet also add strings to the new version of No Matter What Tammy Said (I Won’t Stand By Him). The tracks are sequenced for those who wish to access the songs on their own for repeated listening; but the recording works best as a piece.

I have listen through and enjoyed The Other Half several times now and one can pick up different nuances of the tale the more you listen. Billingham’s reading and voice has an attraction in itself that makes it very listenable. The songs are equally good and the whole thing comes in a nice package with a booklet that includes the text of the whole story. Any fan of either party will enjoy this innovative storytelling. Others may find one listen enough but either way it should be experienced - either live or in this repeated listening format.

The Payroll Union ‘Paris Of America’ - Backwater Collective

Quite were to place this Sheffield band is a question. The album is more rock than roots but at the same time has hints of the darker side of Americana. The album was made in collaboration with the University of Sheffield. It deals with the riots that took place in Philadelphia between 1830 and 1840. It is a well packaged presentation that comes with a fold out insert that has the cover on one side and the lyrics with historical overviews for each track. There are also a series of footnotes that further illuminate the historical perspective.

The Ballad of George Shiffler which opens the album in fine style is about a battle that took place in 1844 regarding the use of the Protestant Bible and resulted in the death of an eighteen year old George Shiffler. Bull which follows is in full-on rock with a strong persistent drum beat, raging guitars and singer/songwriter Peter David’s striking voice which has something of David Eugene Edwards’ (Wovenhand) intensity in its delivery. The songs are arranged by the band and Tom Baxendale, Ben Fuller and Paul Heath all bring their A game to the songs. They are joined by keyboard player Shane Surgey who adds some additional but very important textures.

The eight tracks (plus one uncredited song) all manage to effectively tell the story of these times. The songs run through sequential events of fierce inter-denominational faith. A subject that has obvious resonance through these isles as it did in the Philadelphia time period of the album. David’s song work as songs and in the hard folk rock context that they are delivered from. That these song have memorable choruses is testament to the strength of David’s writing and to the band’s delivery. Wo Unto Sodom has a funeral pace and an overriding sense of a American gothic sensibility.

Paris Of America is decidedly not an album that country/roots fans may take to with ease but it needs to applauded for the skill and research with which it tells it’s grim tale. The more open minded will enjoy it’s inventiveness and solid, savage vision of how easily that conflict can emerge from what should have been an open spirited debate. The closing listed track Will You Still Remember Me? has all the dilemmas of a person who struggles with the duality of saturday night and sunday morning. Something that even the most traditional Hank Williams fan could appreciate. 

Stuart Mason ‘Tradition’ Native Home

The title gives more than a clue to where Stuart Mason’s heart lies. These songs, on his second solo album, are influenced by the music that would be described as solidly traditional in its performance and delivery. The  result is suitably rustic and raw. The main feature is Mason’s old style vocal and his banjo, mandola and guitar accompaniment. The final number which is Parting Friends is delivered with just voice and banjo and highlights his strengths. However to make things a little sweeter he has added some additional players including his co-producer (along with himself) Ryan Davidson on bass fiddle as well as a brace of additional players who add fiddle, slide guitar to the acoustic instruments that form the bedrock of the music. Amber Cross’ voice is a honed counter to Mason’s rougher edged voice on several tracks.

The songs are a mix of traditional and ol time sources. Mason add a brief explanation in the sleeve notes that explains his source for the songs. There is something earthy and erstwhile about the album yet it manages to sound like the songs could be for these times too. Some of them will be familiar to those who listen to traditional folk, blues and old-time music tunes like Pretty Saro, Gospel Plow and Jesus Met The Woman At The Well. However they don’t often end well, rather these are songs that sit under some dark clouds. Talk About Suffering and All The Good Times Are Past And Gone are titles that are further testament to that notion.

Over all the approach and execution of these careworn but crafted songs is one of understanding and respect that makes them a list experience that is as vital as these songs would have been when the first emerged and were played on back porches and in bars. That they have endured and mutated is proof to their ability to tell a story or have a tune that survives through to this day and have seen the likes of Jerry Garcia, Bill Monroe, Doc Watson as well as Peter, Paul and Mary record them at various times. Stuart Mason and pals are in good company - on more ways than one.